This article is an attempt to analyze upon which categories Monthly Cinema Journal of Yedinci Sanat that has started to publish from 1973 does constitute its own language of film critique. Following the critiques published upon native films in the Journal, this article aims to reveal that the Journal has developed its own sociological and ideological language of critique. This paper discusses the implications of this sociological and ideological language of critique by means of common concepts of that language such as base-structure, reality, style, and totality. This article tries to show how the language of critique in Yedinci Sanat has produced a new cinematic approach that is based on mainstream Turkish cinema Yeşilçam . This cinematic approach which is explained through the concepts such as materialist cinema, progressive cinema, and revolutionary cinema has also determined the critical language of the Journal. The Journal has supported a certain kind of political cinema and has constructed its own discourse and methods in this political context and this emphasis on the political stance of the Journal has suppressed all statements that may elaborate the artistic aspects of cinema. Almost every statement expressed in the Journal has been stated within this political discourse; even the debates weather cinema is an art or not has enjoyed limited representation in the Journal due to the fact that these debates may push back the political emphasis of the Journal.